The percussive beginning starts over the previous track. In comparison to the studio version on Le Parc this performance is enhanced by the addition of a vocal patch providing a countermelody sporadically throughout.
Segueing seamlessly from the previous track, again the live version here is enhanced by a high countermelody, but otherwise is basically the same as the Optical Race version. Finishes with a deep, menacing boom, over which the following track starts.
The Miracle Mile track is overlaid with a new trumpet patch line, echoing somewhat the Mellotron lead of Betrayal (Sorcerer Theme). The track ends with a low, harpsichordesque patch; the next track then begins immediately.
Same as the 1988 version, but missing the piano intro. Here, the piece starts with a few seconds of atmospheres before jumping into the fast-sequenced/guitar solos section. Also here, both Edgar and Jerome play guitar, instead of just Edgar (as in 1988).
This is an introductory piece, which starts with a harpsichord patch (almost) solo, accompanied by a choir voice. A bass voice and drums join soon afterwards. The effect is slow and magisterial. Typical of the material around the time of Optical Race. The drums slow down and drop out, and the end of the track is swamped by a swirling effect, leading into the next track.
As appears on i-Box, there is half a minute missing from the beginning of this track, and a minute and a half missing from the end. The excised beginning can be heard again at about 4:30 in the released version; this four bar phrase is played twice before reaching the beginning of the released version. The released version is pretty much as played live, although there was no saxophone, and the funky fat synth lead line from the middle is not original. The missing end part comes in as the harpsichord reprises the opening section. The tomtoms come in after the percussion has gone, followed by a panpipe voice. There is a slight variation in the harpsichord's pattern, before it leaves the drums mainly on their own. A glockenspiel-type voice plays an ascending melody, and each fifth bar opens with a resonating bong a la Miracle Mile. The melody alternates between four bars in the tonic and four in the subdominant. The piece modulates into the supertonic after a few phrases. Eventually the track ends with an echo on the dominant, and a flourishing vocal chord (no pun intended).
A quite different mix, much jauntier than the 1988 North America version or the version on Antique Dreams: new intro, new brassy middle section, and dual sax accompaniment.
(All times rounded to nearest 15 seconds and include bridges following song, if any.)
Large parts of this section have been taken from the site What Dreams Are Made Of by kind permission of the authors John A. Burek and Mark Schaffer.
This is a notable show for a variety of reasons. Firstly, given its timing, it's the only show remotely in support of Lily On The Beach.
Secondly, there are no fewer than four tracks from Destination Berlin -- a unique achievement in one concert for original soundtrack material (although The Keep and Wavelength contain several live tracks, their live appearances predate the films that they appeared in). Given the location, of course, perhaps this is not that surprising.
Thirdly, this is the last occasion that the band would play live in a divided Berlin.
Finally, this was the first TD gig with Jerome Froese and Linda Spa. Linda did appear for the last 15 minutes of the main set while Jerome was on stage for the whole gig and did play his first guitar duet with Edgar in the middle of the set.